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Ceremonies at the Unveiling of a Copy of 

THE COLLEONI 
EQUESTRIAN STATUE 

By VERROCCHIO 
Executed hS J. MAS5EY RHIND, Sculptor 

Presented to tKe Citp of Newark, Nev7 Jersey), by 

CHRISTIAN W. FEIGENSPAN, ESQUIRE 

on the occasion of tKe Two Hundred and Fiftieth Anniversary 
of the Founding of the Citj) 

Under tKe auspices of tKe Committee of One Hundred 
FRANKUN MURPHY, Chairman, presiding 



CLINTON PARK, NEWARK 

Wednesday? afternoon, July twentj-sixth, nineteen sixteen 

at four o'clock 



PROGRAM 

1. Festival March from "The Masque of Newark" Henry Hadley 

2. Invocation ..Rev. E. A. Wasson, Ph.D. 

3. Soprano Solo — "Roberto, O tu che Adoro" 

from "Roberto II Diavolo" Meyerbeer 

inez allen potter 

4. Introductory Remarks Franklin Murphy 

CHAIRMAN COMMITTEE OF ONE HUNDRED 

5. Address and Presentation Justice Francis J. Swayze 

6. Unveiling Mrs. Christian W. Feigenspan 

7. Address of Acceptance 

His Honor, Mayor Thomas L. Raymond 

8. Walther's Prize Song from "Die Meistersinger" Wagner 

9. "Stars and Stripes Forever" Sousa 

Muiical Program under the direction of MR. THORNTOff ff. ALLEN 






INVOCATION BY REV. E. A. WA5SON 

Heavenly Father, we thank Thee that Thou hast put it into 
the heart of a member of this community to bestow this work 
of beauty on our city. May it stand for generations and ages 
as a joy and an inspiration to our people, as well as to the 
stranger that sojourns among us or passes through. May it 
also prompt others to give of their means for the beautifying 
and ennobling of the city, which safeguards and enhances us all. 

Yet suffer us not to rest in any outward grace of form and 
feature, but lead us to the better beauty within, of mind and 
heart, which alone can make a people truly great. 

We thank Thee for the donor of this statue; for this occasion, 
and all who contribute to it; for our city; for its good days 
that are past, and for the better ones to come. 

And to Thee be the praise. Amen. 



ADDRESS OF FRANKLIN MURPHY 

CKairman, Committee of One Hundred 

E are met this afternoon to dedicate to the 
use and enjoyment of the people of Newark 
an exact copy by a famous sculptor of the 
greatest equestrian statue in the world. Its 
commanding beauty will adorn the city for many 
generations and the resolute face of the great soldier 
will inspire afresh those failing hopes that sometimes 
beset us all. 

Colleoni lived five hundred years ago when the con- 
ditions of national and civic life were different from 
those of the present day. It was the time for the soldier 
of fortune. It was the day of the highwayman and the 
brigand. In Italy it was the day of the Condottieri, the 
leaders of military companies who for hire served the 
cause of the cities or states that employed them. War 
was a trade. The leaders made their own terms and 
gathered their followers as best they could. They cared 
nothing for the cause for which they fought and were 
ready to change sides for sufficient inducement. All 
this seems impossible to us in these days when the 
world is engaged in the greatest of all wars and when 




^ 



^ the spirit of patriotism is sufficient to cause men to 
make any sacrifice and to take any risk. 

Colleoni was a condottiere, following in his father's 
footsteps. Serving first Venice, then Milan and then 
\(. Venice again until his death, although when Venice was 
V at peace he would make war on his own account, either 
to keep his hand in or to improve his private fortune. 
He fought because he loved to fight. He was a kind of 
glorified brigand, and yet in a way he was something 
of a Napoleon. 

Before he rose to supreme command he was the life 
and spirit of his army, and when he was finally made 
Captain-General of the Republic of Venice, Venice was 
secure from all her enemies as long as he lived. 

He was a man of great ability and in another age 
would have had greater renown. 

But it is not because we care very much about Col- 
leoni himself that we are here this afternoon. It is 
rather because he was the inspiration of one of the 
greatest works of art in the world. I doubt if we would 
have known much more about Colleoni than about the 
other great soldiers of his time if his fame had not been 
made secure by the immortal statue to which every 
visitor to Venice makes pilgrimage. 

And this priceless treasure it will be the inspiring 
privilege of the people of Newark to enjoy. Justice 
Swayze will, I hope, tell us how the possession of this 
beautiful gift tends to elevate the thought of a com- 
munity. 

It only remains for me to thank the giver on behalf 
of the people of the City of Newark. His modesty has 
prevented our assigning him an important place on the 
program of the day. He has even insisted that his 
name should not be mentioned. But I should be de- 
prived of a pleasure and should fail in my duty if I did 
not say that, not for his munificence alone but for that 
willingness to serve his city in every fine way, Newark 
feels proud of the fact that Christian W. Feigenspan is 
one of her honored citizens. 




ADDRESS BY JUSTICE FRANCIS J. SWAYZE 

|R. FEIGENSPAN'S most generous gift is 
likely to be the most enduring memorial of 
our celebration. Most of the buildings we 
see will give way to others before two hun- 
dred and fifty years have passed, as the visible signs of 
the settlers of the town have disappeared. This bronze 
will outlast them all. 

The statue, a copy of which we dedicate today, has 
kept alive for nearly five hundred years and will keep 
alive for five hundred years longer the name of a soldier 
who served, as his interest dictated, now the City of 
Milan and now the City of Venice, and who died seven- 
teen years before the long vigil of Columbus was ended 
by the sight of San Salvador rising above the western 
horizon. You will search the ordinary books of history 
in vain for an account of Colleoni. Even the great 
Biographic Universelle gives him but a few lines. The 
military expert of today would look with pitying con- 
tempt upon the gun carriages and the field artillery 
which enabled him to give Venice the advantage over 
her foes, as submarines and Zeppelins and aeroplanes, 
seventy-two centimeter guns and super-dreadnoughts, 
give an advantage today. 

Few travelers visit his native town of Bergamo where 
he lies buried, but the thousands who throng to Venice, 
and visit the tombs of the Doges in the Church of Saint 
John and Paul, look with amazement and delight on 
the statue in front of the church where horse and rider, 
in bronze, seem to live as they lived five hundred 
years ago. 

The government Colleoni served went down, after 
various vicissitudes, in revolution; the French tricolor 
floated in the piazza of St. Mark, where no foreign 
standard had been seen for fifteen hundred years; the 
bronze horses brought by Venetian conquerors from 
Constantinople were carried to Paris, there to remain 
until the Peace of Vienna caused their restoration; but 



the statue of Colleoni still stood in the little piazza. It 
saw the downfall of the Venetian Republic after more 
than a thousand years of freedom; it saw a greater 
change in government, a change which would have 
seemed incredible and unintelligible to the mediaeval 
soldier of fortune. The wars of Italian cities with one 
another have long since ceased; the chains which pro- 
tected the City of Pisa against the attacks of Genoese 
ships have been returned, and hang in the Campo Santo 
as a symbol of the good will of former enemies; and in 
our own day Italians throughout the famous peninsula 
have demonstrated the falsity of Napoleon's sneer that 
the Italian people are unfitted for liberty and inde- 
pendence, by achievements worthy of the most heroic 
days of the past, which have formed a United Italy 
under the statesmanlike and fortunate leadership of 
the House of Savoy. 

Enduring as bronze is, it too like all the works of 
men is fleeting. Statues with which a rich and culti- 
vated society had decorated Italy and Greece were 
melted in the dark ages, except where they were buried 
beneath the ashes and lava at Pompeii and Hercu- 
laneum. They furnished a readier source of supply of 
a needed metal than the laborious processes of mining 
and smelting. Their memory and their influence sur- 
vives, and so the memory and the influence of this gift 
may outlast the bronze itself. 

We have already had gifts from generous citizens. 
We are destined to have more. We already have 
bronze statues, some of high artistic merit, but all have 
either some local or some national significance. Today 
for the first time, we dedicate a work of art whose only 
significance is artistic. It is a long step forward in the 
beautifying of our town. We have no interest in the 
Italian mercenary soldier of the late Renaissance. Most 
of us never heard his name until within a few weeks, 
and would not have heard it now but for Mr. Feigen- 
span's gift. We do not know the names of his victories. 
The cause for which he fought long ago ceased to be of 



present interest. "Dead the warrior, dead his glory, 
dead the cause for which he died." It is art that has 
prolonged his fame and made it known in a land he 
never heard of and aroused the interest of men of a 
different race and tongue. Newark has long since 
passed the time when its citizens were interested only 
in the accumulation of wealth. We have reached the 
time when we can afford to dwell on subjects apart 
from our daily toil. It is artistic and intellectual 
triumphs that distinguish a higher civilization, and 
endure the longest. Venice and Milan and Genoa are 
no longer the great marts through which flows the com- 
merce between East and West. Florence long since 
ceased to be the banking centre of the world. Italian 
supremacy in commerce has gone forever, but travelers 
from regions unknown at the time of CoUeoni's death, 
still throng to Venice, attracted not merely by the marvel 
of palaces rising directly from the waves of the sea, 
but by Titian's pictures of the Assumption of the Virgin 
and the Presentation in the Temple, by Tintoretto's 
frescoes, by John Bellini's madonnas, by the Cathedral 
of St. Mark and by the statue of Colleoni; as they go to 
Florence to see Giotto's tower, Michel Angelo's Moses, 
Raphael's pictures, and the Medicean Venus; as they 
go to Rome to gaze in wonder on St. Peter's, the picture 
of the Transfiguration, the crowded wonders of the 
Vatican. The ancient triumphs of the arts, or archi- 
tecture, of painting and of sculpture, make Italian cities 
famous beyond modern cities of greater commercial or 
industrial or political importance. But we should fall 
short if we thought only of the fame that attracts 
strangers. The sight of noble works of art influences 
for the better the character of every man. Everyone is 
more careful of his conduct, and doubtless of his 
thoughts, in splendid than in mean surroundings. I 
have seen two ragged little boys eight or ten years old 
looking at the wonderful pictures in St. Peter's, the 
younger listening with rapt attention as the elder told 
him the story, both behaving with the propriety that 



the place demanded. Every one of us has the feeling 
of beauty; every one of us adorns his home as best he 
can afford, and is the better for it. So must it be with 
a city. The more beautiful its buildings, the better and 
more numerous its works of art, the more its citizens 
will respect it and respect themselves and when these 
are allowed to fall into decay, the downfall of the city 
cannot be distant. 

This statue is significant because it adds to the beauty 
of our city, makes it more famous, attracts strangers, 
and educates and ennobles ourselves. It has also 
another significance. It unites in thought the young, 
the vigorous, the rich, and the growing Republic of the 
West and the glorious memory of a republic that lasted 
thirteen hundred years, from the Roman Empire to the 
French Revolution, and with a great nation of which 
the Venetian territory is only a part, and a race that has 
played a leading part in the formation of our modern 
civilization. We Americans praise ourselves until we 
are in danger of forgetting that great things have been 
done elsewhere on earth. I yield to no one in my ad- 
miration for the material progress of the United States 
which in little more than a century has developed our 
great domain of three million square miles. I yield to 
no one my admiration of the inventive skill and energy 
and commercial daring which have made us one of the 
wealthy nations of the world, and may, if we only 
choose, make us one of the influential. I yield to no 
one in admiration of the political genius and good sense 
of my fellow citizens which has formed here a feder- 
ation of forty-eight sovereign states and shown the 
world how peace may be secured by justice, and when 
war should be made for a great cause, but the most en- 
thusiastic American must admit that we have not yet 
excelled in literature, in poetry, in music and in art. 
We have been engaged in the struggle for a living. We 
are only beginning to take an interest in those phases 
of human activity that characterize an advanced civil- 
ization. If we are to be counted among the great 



nations, we must first realize our shortcomings, and 
avoid self complacent boasting and foolish pride. We 
can improve only if we cease to boast where we excel 
others and think wherein they excel us. By common 
consent Italy has excelled in literature, in poetry, in 
music, in architecture, in painting, in sculpture. She 
has been apostrophized by one Englishman as a land 
dear to freedom and by another as "the light of the 
world enkindled when Greece grew dim." No one 
would deny that many of the supreme names of the 
past in art and literature and science are Italian, and 
in these days of electricity the names of our own great 
inventors find worthy rivals in the great Italians whose 
names are now familiar terms, Galvani, Volta, Marconi. 
I am inclined to claim the first place for the United 
States in matters of political development, but I am by 
no means sure that the achievement of Franklin and 
Washington, Hamilton and Marshall, in welding to- 
gether into one nation, discordant states, does not find 
its parallel in the bold and courageous work of Cavour 
and Victor Emanuel by which Piedmont and the little 
kingdom of Sardinia became in a few years the great 
kingdom of Italy. 

May Mr. Feigenspan's gift make us think better of 
our city and care more for it; may it stand as a con- 
stant reminder of the great things that we owe to Italy 
and inspire us with a feeling of noble rivalry as long 
as this bronze shall endure. 



10 



^ADDRESS BY MAYOR THOS. L. RAYMOND 



JHROUGH the generosity and fine public spirit 
of one of our citizens we Newarkers can now 
say that we have here, adorning our city, 
where all may see it and rejoice in it and 



KGv^^^^ 


1 



share its beauty, one of the most beautiful objects of 
art in the world. The day of its unveiling is a day full 
of promise for Newark. 

The beauty of this monument needs no words; there 
it stands; it speaks directly to us all its clear and con- 
vincing message. The greatest critics have described 
it, praised it and given it its place among the works of 
art of all time. Ruskin has said that it is the most 
beautiful equestrian statue in the world. His judgment 
has been sustained by what Matthew Arnold calls "the 
finelj'^ touched and gifted men" of four centuries. To 
it through these centuries untold pilgrimages have been 
made to Venice by the lovers of the beautiful. 

To a degree impossible in the fine arts of architecture 
and painting, sculpture lends itself to exact repro- 
duction. By the means of casting we have here in 
Newark exactly the splendid statue which has aston- 
ished and delighted the world all these years in Venice. 
This is due to the self-effacing labor of our great 
American sculptor, Mr. J. Massey Rhind, whose own 
brilliant work, the equestrian statue of Washington, 
now adorns one of our parks. Yet, while Mr. Rhind 
might exactly reproduce the statute, it is to his own 
taste, discrimination and art that we owe the superb 
pedestal in which he has given us the spirit and feeling 
of the original. There was but one thing he could not 
do. Time alone can throw upon our statue the glow 
and richness which four centuries of sunshine, wind 
and rain have cast upon the original. 

With this monument before us we cannot fail to turn 
our minds toward the city, the race, the land, the cen- 
tury which inspired it; we must think a moment of 



11 



the man represented, of the times in which he lived, of 
what he stood for in his time. 

The Venetians were hard, calculating, money-getting 
business people, and among the greateest traders the 
world has ever known. Their rise to power and domin- 
ion fills pages as marvellous as any in history. The sea 
was their medium and they built their city in the sea — 
and yet that city grew to be the most fairylike of all 
cities; the richest in tone and color, the most delicate 
in dainty loveliness, and through the marriage of the 
mystery of the East with the force of the West, the 
strange blending of the art of Byzantium, of Rome, 
and of the Goth, a wonder city of exotic charm. 

In the middle of the fifteenth century, at the height 
and finest flowering of the Italian Renaissance, this 
Republic of Venice hired Bartolomeo Colleoni to fight 
its land wars — as all other states hired their troops and 
military leaders. Such condottieri were seldom men 
who would satisfy the code of the moral preacher of 
today. They fought for a prize, they served the highest 
bidder, they deserted when better terms were offered, 
they turned traitor at will. Such were the habits of the 
times and Colleoni was of the times, and he lived his 
life vitally and vividly until 1475, his seventy-fifth year, 
when he died. 

But hear what John Addington Symonds, the great 
historian in English of the Italian Renaissance, says of 
him : "While immersed in the dreary record of crimes, 
treasons, cruelties and base ambitions, which constitute 
the bulk of fifteenth century Italian history, it is re- 
freshing to meet with a character so frank and manly, 
so simply pious and comparatively free from stain, as 
Colleoni." He was of his times and we must judge him 
by his time as we demand to be judged by our times by 
a critical posterity. We modern Americans can not 
hope to go into the court of posterity with clean hands. 
What will the judgment be of our treatment of so-called 
criminals and the horrors of our penal system? What 
will be said of the inhumane conditions under which 



12 



our poor live in our greatest and richest of cities? Shall 
we be able to justify the great mortality among young 
children, the spread of tuberculosis, our ignorance and 
stupidity in dealing with poverty and paupers, the 
general waste and inefhciency of our local govern- 
ments? There is a general movement toward improve- 
ment; but this only opens our eyes the wider to our 
failures. We cry that we must be judged by our times, 
and so must Colleoni be judged by his, and he stands 
out in bright splendour as a man better than his times. 
The man who stands out from his time for wisdom or 
goodness or human liberty is a great man. He is a force 
which has helped to make the world a better place to 
live in, a bright star which sets not nor dims for the 
generations which come after him. Such was the man 
whose portrait in bronze we have here before us. 

This statue was the work of two men, Verrocchio, of 
Florence, and Leopardi, of Venice, and critics have 
difficulty in attributing to each his j ust share. Verrocchio 
died before the work was completed and left his de- 
signs and plaster casts. The Venetian Republic em- 
ployed Leopardi, one of her own citizens, to complete 
it. The weight of critical opinion gives the chief credit 
for the work to Leopardi, the well known characteris- 
tics of Verrocchio's style having disappeared from the 
completed statue. Venice's own son, not the outsider 
first chosen, made for Venice one of the greatest mas- 
terpieces of sculpture. The beauty of this bronze is 
undying. Generation after generation of young New- 
arkers will see it, will feel its beauty and its inspiration, 
and who knows, is the vision too fanciful, may not some 
young Newarker create its rival some day? How I 
long for the day when we shall have here schools of 
art, fully equipped, where our young lovers of the fine 
arts may have a start in sculpture or painting or music 
or the drama. These are the finer things of life which 
lift up the heart of a city and enrich its soul. May this 
monument remind our wealthy citizens of the possi- 
bilities of generosity; may the example of this generous 
donor find its followers ! 



13 



If we look back to those great commercial cities of 
the Italian Renaissance we shall find that in the time of 
Colleoni their wealthy citizens were filling them with 
treasures of art which make today a pilgrimage to them 
real and necessary for the man who cares for beauty; 
and these cities of Italy, Venice, Florence, Pisa, Siena, 
Perugia, were cities of commerce and industry, their 
citizens were merchants and craftsmen, they were 
profit-loving as we are here in Newark. The soul of 
our city has been passed down to us a rather material- 
istic soul; civic pride has not found much room for 
growth in it. We have prided ourselves upon our in- 
dustry, our labor, our commerce, our wealth, our ma- 
terial and temporal blessings. 

We need all this, we need our smokestacks as em- 
blems of our burning, vital life of energy and industry. 
We need to encourage the spirit of commerce and 
manufacture which has given us our title to greatness, 
but all this does not lessen our need of beauty and the 
finer things. There is no reason why we should not 
lighten up our profit-making industry with a richer and 
more spiritual view of life which shall throw a glow of 
beauty around all we do. 

This spirit of which I speak was radiant in all those 
old Italian cities. Profit-loving and practical-minded 
as they also were, and while they pursued industry and 
commerce with an energy with which few cities have, 
they were enriching themselves with a culture as fine 
as any the world has seen, and the soul of this culture 
has not perished through all the days of decadence, 
tragedy and adversity which have followed the glorious 
Renaissance and from the effect of which these cities 
are only now recovering, under the beneficent and en- 
lightening influences of the Risorgimento. 

It is with the greatest pleasure and in the faith that 
a landmark has been set in our city's life and growth 
that I, representing all her citizens, accept this precious 
gift and tender the thanks of the city to her generous 
son who has made her so much richer than she was. 

(*Owing to Mayor Raymond's absence on account of illness, his address was read 
by the Hon. Spaulding Frazer.) 



14 



CHRISTIAN W. FEIGENSPAN 

747 Broad Street 
newark, new jersey 

July 26, 1916. 
To the Mayor and Common Council of the City of Newark: 

Gentlemen — I hereby formally present to the City of Newark the 
statue of Bartolomeo Colleoni now erected in Clinton Park, the same 
being a reproduction of the Colleoni statue in Venice, Italy, erected dur- 
ing the latter part of the Fifteenth Century by Andrea del Verrocchio and 
AUesandro Leopardi, sculptors. The reproduction has been made by 
J. Massey Rhind, sculptor, of New York. 

Very truly yours, 

CHRISTIAN W. FEIGENSPAN. 



The original statue was erected in the City of Venice, Italy, in 1493, 
one year after the discovery of America. This copy is an exact repro- 
duction in size and material of that which Andrea Verrocchio, the 
famous Florentine sculptor, conceived. Verrocchio died before his great 
work was completed ; but directed that his pupil, Lorenzo di Credi, should 
cast the bronze and erect the statue. The Venetians, however, determined 
that one of their own citizens should have the honor, and to that end 
summoned AUesandro Leopardi, who had made the sockets for the 
flagstaffs on the Piazza of San Marco. Leopardi had theretofore been 
expelled from Venice as a forger. He cast the statue in bronze and built 
the massive pedestal, but had the effrontery to place his name, not only 
upon the base, but also upon the saddle girth of the horse. To the 
uninformed, Leopardi, therefore, appears as the author of the entire work. 

The original occupies a small square, the Piazza Scuola di San Marco, 
near the Church of Saints Giovani and Paola, Venice. It is surrounded 
by uninspiring buildings. The great mercenary warrior, Bartolomeo 
Colleoni, in whose honor it was erected, had decreed in his will that it 
should stand in the Piazza di San Marco, but the Venetians, hesitating 
to accord him so much, finally placed the statue in the smaller square. 

There is no other full-size marble and bronze copy of this statue 
elsewhere in the world. It is forty-five feet high over all. The base of 
the Newark copy was carved from Georgia Cherokee marble, and the 
statue cast from standard United States bronze. 

Andrea del Verrocchio, the artist, was born in Florence in 1435 and 
died in Venice in 1488. He was the most gifted pupil of the great 
Donatello, and a painter as well as a sculptor. The Colleoni was his 
last great work. Three of his famous pupils were Lorenzo di Credi, 
Perugino and Leonardo de Vinci. 

The sculptor of the Newark Colleoni, as it will be known, is J. 
Massey Rhind, the author of Newark's statue of Washington. His work 
on the Colleoni is of masterful fidelity and grace. He has brought us 
not only the form, but the heroic spirit of this wonderful Italian example 
of the Post-Renaissance period in the history of art. 

Mr. Rhind is a resident of New York. He has executed many 
notable works in America. 



15 



LIBRARY OF CONGRESS 



014 208 614 1 



COMMITTEE OF ONE HUNDRED 

CITY OF NEWARK, NEW JERSEY 



Franklin Murphy 

CHAIRMAN 

D. H. Merritt 

TREASURER 

Matthias Stratton 

SECRETARY 

UzAL H. McCarter 

CHAIRMAN EXECUTIVE COMMITTEE 



James Smith, Jr. 

VICE-CHAIRMAN 

Alexander Archibald 

HON. SECRETARY 

James R. Nugent 

COUNSEL 

Henry Wellington Wack 

EXECUTIVE ADVISER 



His Honor Thomas L. Raymond 

MAYOR 



ALEXANDER ARCHIBALD 
GEORGE B. ASTLEY 
CHARLES BRADLEY 



RABBI SOLOMON FOSTER 
JOHN R. FLAVELL 
WILLIAM H. F. FIEDLER 



GEN. R. HEBER BREINTNALL LOUIS A. FAST 



ALBERT H. BIERTUEMPFEL 
JOSEPH B. BLOOM 
PHILIP C. BAMBERGER 
ANGELO R. BIANCHI 
EDWARD T. BURKE 
STANISLAUS BULSIEWICZ 
JAMES F. CONNELLY 
JOHN L.CARROLL 



HENRY A. GUENTHER 
ALBERT T. GUENTHER 
JOHN F. GLUTTING 
EDWARD E. GNICHTEL 
GEORGE J. GATES 
AUGUSTUS V. HAMBURG 
HERMAN C. H. HEROLD 
WILLIAM T. HUNT 



RT. REV. MGR. PATRICK CODY C. WILLIAM HEILMAN 



WILLIAM H. CAMFIELD 
JOSEPH A. CARROLL 
FRANK W. CANN 
WILLIAM I. COOPER 
FORREST F. DR^TJEN 
DR. WILLIAM DIMOND 
JOHN H.DONNELLY 
RICHARD DENBIGH 
ALFRED L. DE VOE 
PATRICK J. DUGGAN 
HENRY M. DOREMUS 
DANIEL H.DUNHAM 
LABAN W. DENNIS 
J. VICTOR D'ALOIA 
MRS. HENRY H. DAWSON 
FREDERICK L. EBERHARDT 
CHARLES EYTEL 
JOHN ERB 

CHRISTIAN W. FEIGENSPAN 
REV. JOSEPH F. FOLSOM 



RICHARD A. HENSLER 
HENRY HEBELER 
MRS. HENRY A. HAUSSLING 
MISS FRANCES HAYS 
RICHARD C. JENKINSON 
LEOPOLD JAY 
MRS. FRED. C. JACOBSON 
NATHANIEL KING 
GOTTFRIED KRUEGER 
WILLIAM B. KINNEY 
DR. JOSEPH KUSSY 
J. WILMER KENNEDY 
WILLIAM 0. KUEBLER 



WILLIAM J. MC CONNELL 
ANTON F. MULLER 
JOHN F. MONAHAN 
JOHN H. MC LEAN 
JOHN METZGER 
JAMES R. NUGENT 
JOHN NIEDER 
PETER J. O'TOOLE 
WILLIAM P. O'ROURKE 
JOHN L. O'TOOLE 
EDWARD J. O'BRIEN 
PATRICK C. O'BRIEN 
BENEDICT PRIETH 
LOUIS PFEIFER 
MICHAEL J. QUIGLEY 
THOMAS L. RAYMOND 
JOHN F. REILLY 
DR. SAMUEL F. ROBERTSON 
GEORGE F. REEVE 
FRED. H. ROEVER 
MORRIS R. SHERRERD 
EDWARD SCHICKHAUS 
JAMES SMITH, JR. 
GEORGE D. SMITH 
JULIUS SACHS 
ERNEST C. STREMPEL 



RT. REV. EDWIN S. LINES, D.D. A. A. SIPPELL 

CHARLES W. LITTLEFIELD J. GEORGE SCHWARZKOPF 

CARL LENTZ BERNARD W. TERLINDE 

FRANKLIN MURPHY CHARLES P. TAYLOR 

UZAL H. MC CARTER FRANK J. URQUHART 

D. H. MERRITT DR. A. G. VOGT 

REV. T. AIRD MOFFAT CHRISTIAN WOLTERS, JR. 



FORMER MAYOR JACOB HAUSSLING (HONORARY MEMBER) 



